CMT Lucky Tonight Tour: Jon Pardi w/ Midland & Runaway June
Midland, Runaway June
201 41st St South
Birmingham, AL, 35222
Doors 6:00 PM / Show 7:30 PM
This event is 18 and over
The snarl in his voice sets the tone for Jon Pardi’s California Sunrise. He’s a traditional country singer, bred in the West Coast honky tonks, and he won’t apologize for chasing the dream on his own terms.
It might be considered contemporary cool to inject country songs with programmed drums, rap phrasing and poppy melodies. But Pardi isn’t worried about what’s trendy. He’s more concerned with making country music that will last, and California Sunrise successfully hits that target. It’s stocked with classic Nashville melody, blue-collar lyrical themes and authentic country instrumentation – real drums, loud-and-proud fiddles and tangy steel guitar. The album’s 12 songs draw a direct link to such forbearers as Dwight Yoakam, George Strait and Marty Stuart, and it’s intentional.
“There’s a growing audience for throwback,” Pardi says. “People want to hear somebody who really enjoyed the ‘90s country music era and brings that to 2016 country. A lot of this record is bringing an old-school flare back to a mainstream sound, but that gives me my own lane.”
Pardi established that lane with his 2014 debut, Write You a Song, a rough-and-rowdy project that made him familiar to the suddenly-hip country crowd, thanks to his Top 10 party song “Up All Night.” The music oozed with youthful brashness and longneck longing, and Pardi drew a raucous following, increasingly selling out 1,000-2,000 ticket clubs, sometimes out-performing higher-profile country acts playing across town the same night.
In fact, as Pardi began adding material from the new album into the set, he was shocked at the passion with which the music was consumed. As he played unreleased songs from California Sunrise, he discovered fans were already singing back the music verbatim – even the verses – having learned the songs from YouTube postings of earlier concerts. They’re ready for Jon Pardi, and he knows exactly what they need.
“I've been hitting the road steady for four years,” he says. “I’ve learned more about what the radio stations want, and I’ve learned what the fans want. It’s a whole different perspective on your second record, and I kind of took that perspective and put it into the 30-year-old me that loves recording music and loves writing.”
The result is a creative step forward. It’s not a left turn, necessarily, but there’s a clearer focus to
Pardi’s vocal performances and a smart brew of sexy romance, western fashion and all-American work ethic that permeates California Sunrise. “Head Over Boots,” his ultra-melodic two-steppin’ radio hit, hints at the attitude with its playful proclamations and Texas dancehall influence. But there’s plenty more throughout the project: ragged barroom rhythms in the opening “Out Of Style,” Strait-like overtones on the ballad “She Ain’t In It,” a Motown cowboy romp in “Heartache On The Dance Floor” and a breezy, Eagle-esque country/rock closure with the title track. As invested as he is in throwback appreciation, Pardi is clearly not a one-dimensional dude.
“It’s a very diverse album,” he notes. “You can listen to ‘She Ain’t In It’ and you can listen to another song, and they sound like they should be put together in an album, but they’re completely different.”
The unifying thread, of course, is Pardi’s artistry, a blend of that crackling, masculine voice with irresistible musical taste and a working-man spirit that’s at the heart of his being. Pardi is a native of the Golden State, but he’s no Hollywood Hills golden child. He’s a middle-class son of a Northern California construction boss, a kid who – like most kids – tried to figure out the shortcuts, only to learn from the old man the value of putting in the time to finish the job the right way.
“My dad was a super-hard worker,” Pardi explains. “Now as a grown man I really appreciate that. The area I'm from is really blue-collar, agricultural, everybody’s working, everybody’s doing something in construction, something in farming. Everybody’s just working hard. When I go back, there’s that pride there that’s like this made me who I am.”
The work started at age 14. He did a short stint at a grocery store before progressing to grunt work at a Ford dealership, to ranch work and, later, to operating heavy machinery.
“Not everybody knows how to swing a framing hammer,” he says. “I’ve had to teach a friend how to swing a hammer. It’s really all about living and learning.”
Pardi wasn’t afraid to get his hands dirty, but he mostly wanted to wrap them around a guitar. He started writing songs by the age of 12 and was in his first band at 14. By 19, he knew Nashville was in his future. Once he arrived in Music City, there was more conventional work to keep him going – he was a lifeguard at a public pool for a time – but he found his way into Nashville’s songwriting community, where he applied some of the same skills he’d learned at his father’s dusty feet.
“Surround yourself with great people is a great thing to have in your mind for life,” he says. “Find the best people to work with. You can learn a lot.”
Among the key people he learned from is songwriter Brice Long, who co-wrote such trad-country pieces as Randy Houser’s ballad “Anything Goes” and Gary Allan’s #1 single “Nothing On But The Radio.”
“Brice is always saying, ‘Just keep doing what you’re doing, don’t worry about everyone else,’” Pardi notes. “You need those kind of guys that have hits on the radio telling you that.”
Pardi became particularly close with songwriter Bart Butler, whose successes include Thomas Rhett’s “Make Me Wanna” and Bobby Pinson’s “Don’t Ask Me How I Know.” Butler not only became a frequent co-writer, he also emerged as Pardi’s co-producer, someone who’s able to handle the detail parts of the gig but also to assist Pardi in expressing his own creative voice.
“We’ve stayed true to Jon’s soul, even though we knew that may be a risk,” Butler says. “We still feel like country music with twin fiddles or musicians doing a steel solo can compete in the market today.”
Indeed, “Head Over Boots” – the first single from California Sunrise – became Pardi’s fastest-rising single to date, thanks to its buoyant melody and incessant optimism. Pulling from that same upbeat viewpoint, Sunrise makes multiple allusions to fashion through such titles as “Head Over Boots,” the bouncy “Dirt On My Boots” and the suggestive “Cowboy Hat.” The latter finds a young buck in a countrified take on the Tom Jones/Joe Cocker title “Leave Your Hat On,” keyed by the memorable line “Can’t resist you in that Resistol.” There’s a workman-like ethic embedded in the sweaty “Night Shift” and the pounding “Paycheck.” And there’s an innate sexiness throughout.
Pardi delivers it all with increasing authority. He introduced that confidence in Write You a Song, but he takes it another step on California, owing to the additional experience he picked up in the interim as an opening act at arenas and amphitheaters for Dierks Bentley and Alan Jackson.
“A vocal cord is like a muscle – if you work it out, it’s gonna get better,” Pardi suggests. “It’s like going to the gym and doing push ups and sit ups, and now it’s just my voice kind of growing up.”
As is his artistry. Pardi wrote a bulk of the songs on California Sunrise, but he was more than willing to consider material from other Nashville songwriters. He discovered a bevy of tunes that had been overlooked in the rush for synthetic productions from some of his contemporaries. He used mostly the same band that backed him on the first album, and they were invested in both the music and Pardi.
“It was like the Blues Brothers – ‘We’re getting the band back together!’” Pardi says with a laugh. “We got all seven of them in the room, and there was just a spark.”
The whole ensemble was able to hone in on the core of Jon Pardi, that California, working-class kid who still finds inspiration in the unfettered sound of a dancehall guitar. It’s snarling, hard country for a new generation, a throwback sound to an energized audience that sees it as moving forward.
Ushered into the world on the same label that launched Buck Owens and Merle Haggard, Pardi has found a whole chain of believers in his mission: the dedicated band behind him, the foot-stomping fans with cold beers at the foot of the stage, and a label that knows Pardi’s “throwback” sound is really made for these times.
“Everybody wants to play at an arena and headline it, and I'm not gonna lie – that’s one of my goals,” Pardi says. “Capitol is always the first to remind me that it’s a marathon and not a sprint.”
Those people who already know the words to his songs even before they’re released are evidence that he’s not just running the race. Jon Pardi is winning.
With all the chest-thumping going on in Nashville today, where bluster and swagger have replaced heart and soul, you half expect some of country music's male stars to be sporting bruises. Which is what makes Midland, a trio of friends based in Dripping Springs, Texas, so undeniably refreshing. Made up of singer Mark Wystrach, lead guitarist Jess Carson and bass player Cameron Duddy, Midland is the embodiment of Seventies California country, all smooth Eagles harmonies and heart-on-your-sleeve lyrics. Their songs are intoxicating country sung with the twang of George Strait. And it's impossible to resist. Midland — the guys took their name from a Dwight Yoakam song — excel in setting a mood, transporting the listener to another place and time. This is music made for wide-open skies, endless deserts and wondering where the road is going to take you next. "We write with a very visual storytelling approach. We paint that big picture and go to that place," says Mark. "Where is this story going? Let's paint it." It's no coincidence then that it was in an especially scenic setting where the band first came together — at Cameron's wedding in Jackson Hole, Wyoming. There, casual friends Cameron and Jess formed a musical and personal bond while picking songs together on Jess's cabin's front porch. The connection was only strengthened when they found themselves jamming with Cameron onstage later that week at his rehearsal dinner. "It was this serendipitous chain of events," says Mark, an Arizona native. "And it was the best week ever." "All of us playing together happened only because Mark and I both showed up in Jackson Hole a week before the wedding with time to kill," adds Jess, originally from the Pacific Northwest. "But, by the end, we knew the three of us had amazing chemistry," says Mark. Armed with the newly married Cameron's nest egg, Mark, Jess and the California-raised Cameron decamped for the Sonic Ranch studio, near El Paso, Texas. They cut 15 songs and, bolstered by the outcome, realized they had a unique sound. "When we went to the Sonic Ranch, we became a band. We walked away believing in what had happened," says Mark. "All of our souls, our imaginations, were wrapped up in these 15 songs. We went all-in." "And then we all moved out to Texas," says Cameron with his gregarious laugh. Now signed to Big Machine Records, Midland is in the studio refining and expanding their catalog with ace songwriters like Shane McAnally and Josh Osborne. The sessions have yielded some of the most traditional-sounding country music to come out of Nashville in a decade. Lead single "Drinkin’ Problem" evokes Gary Stewart — one of Midland's biggest inspirations, along with Merle Haggard — as Mark croons, "They call it a problem, I call it a solution / just sitting here with all my grand illusions." "It's talking about something that's real, but it's told in a way that it can be tongue-in-cheek, depending on how the audience experiences it," says Mark. Adds Cameron, "Every good country song has that versatility. But the best are the ones you can listen to when you're angry, sad, happy or however you may be feeling." "Electric Rodeo," with its plaintive piano, sweeping strings and high-in-the-saddle chorus, is a prime example of the "picture" the band so often talks about creating. And the majestic "Nothin' New Under the Neon" sounds like vintage Eddie Rabbit. Whether they intended it or not, Midland have filled a void in country music, and soon they can do likewise on country radio. Like their inspirations the Eagles, they are writing and recording songs with mass appeal. "The commonality with the Eagles is that we set out to make soulful, catchy and accessible music," says Mark. "Our greatest compliment is when somebody who says they're not a country music fan says they really like our songs." But those songs succeed because of one key ingredient: the friendship of Mark, Jess and Cameron. To a number, they each agree it's their secret formula. "Midland isn't manufactured," says Cameron. "We are three real friends who stumbled upon making music together." "We are a band," adds Jess, declaratively. "That's a big part of the spirit of what we do, that group experience and camaraderie. And it is ever-evolving." Midland's music is truly a sound decades in the making that’s just right for today.
There’s a sound that hasn’t been heard on country radio in quite some time – the sound of organic, three-part female harmonies, ringing strings and stories that speak the language of modern women everywhere. It’s a sound that was the backbone of a little group known as The Dixie Chicks, and now it’s making a comeback through a vocal trio called Runaway June.
Rootsy, brightly colored and mixing bluegrass tradition with dusty desert cool, Runaway June is comprised of three very different women who fuse their own influences to create a style country fans have been craving.
Lead singer and guitarist Naomi Cooke grew up in Florida enchanted with the other-worldly vocals of Alison Krauss, then made her way to a stage in Nashville’s world-famous Tootsie’s Orchid Lounge.
Singer and mandolin picker Hannah Mulholland was raised in Malibu, Calif., a nature-loving hippie chick who latched on to the liberating messages of Sheryl Crow and began writing her own music at 6 years old.
And singer/guitarist Jennifer Wayne – another California native – is a Garth Brooks lover so dedicated to country music she gave up a pro tennis career to write songs in Nashville (like Eric Paslay’s “She Don’t Love You”), and happens to be the granddaughter of Hollywood legend John Wayne.
Each of these talented young ladies were unsurprisingly Dixie Chicks fans, and each could have been a solo artist in her own right. But after forming a friendship and discovering their shared love for acoustic soul, soaring vocals and do-it-yourself positivity, Runaway June was born – a name that nods to their common bonds. Both Jennifer’s grandmother and one of Naomi’s sisters are named June, and Hannah completed a life-changing 25-day, 220-mile hike in the month of June. Plus, they all felt pulled to “run away” from their homes and toward their dreams.
Part of the Wheelhouse Records imprint of BBR Music Group, the first thing listeners will notice is the trio’s obvious musical connection, and their stunning three-part harmonies – natural and effortless in feel.
“I grew up in choirs singing low harmony, Jen naturally sings high harmony and Naomi has this perfect mid-range voice,” Hannah explains, surrounded by her bandmates in a Music Row conference room. “If we all switched positions, it wouldn’t be the same.”
Just as impressive is their musicianship, a modern twist on a way-back sound that sets Runaway June apart from the pack as a true, self-contained band.
“We’ve always had a Western feel to the music in some way, and kind of a cowboy feel,” Jennifer says. “But not rhinestone-y — rough and leather-y.”
“Our brand of music is tied to country’s roots in that it’s all real instruments and real sounds,” Hannah adds. “But I feel like we have a modern take on it lyrically.”
Indeed, as strong women who are not afraid to take risks in achieving their goals,
empowerment is a recurring theme for Runaway June – and not just female empowerment.
“We want to be including,” says Naomi. “We want to sing to everybody, so we steer away from being super negative to either gender.”
“We don’t do man-bashing songs,” Jennifer clarifies with a laugh.
In a time when female voices have been squeezed into a few narrow categories at country radio – the bad girls, the good girls, the crusaders – Runaway June want to break the mold. They know women’s lives are far more diverse, and even though their sound is rooted in the past, their stories are very much of the here and now.
“You won’t hear a lot of synthetic anything in our music,” says Naomi, “but we’re modern women living in a modern world, so what we say and what we want to write and sound like is modern, without even trying.”
Continues Jennifer, “Everything we write is what we know – it’s from the heart.”
Case in point is Runaway June’s debut single “Lipstick” – a breakup song that’s actually upbeat and positive. Its central idea is that sometimes breakups ARE for the best, and that a girl should be with someone who ruins her lipstick, not her mascara. But holding true to their promise not to be man-bashers, the girls barely even mention the heartbreaker in the story, instead focusing on the good guy who’s still out there.
“It’s not preachy,” says Naomi. “But it’s something I would want to say to my little sisters.”
With their high-voltage harmonies kicking the song off, “Lipstick” (produced by Mickey Jack Cones) is the perfect intro to this new group.
“It’s like ‘Here we are! We’re a vocal trio. It’s gonna be harmonies,’” says Jennifer. “For some reason, whatever we have together really works. I feel like what I’m lacking they have and what they’re lacking I have. We’re great individually, but we’re the best together.”
“Without planning it, we all have the same taste in music and the same feel for it, and the same things we want to say,” Naomi agrees. “You can’t really design that.”
With that, the new trio lock eyes and smile, sharing a silent moment of realization before Jennifer sums up their happiness: “I think we all know we have something special.”